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I am Shateaheart Baragona, as a Filipino, I enjoy Philippine pop culture, particularly OPM and P-Pop, teleseryes, comedy films, social media trends, and folklore-inspired media. I appreciate how these aspects highlight Filipino creativity, storytelling, and old traditions while incorporating modern ideas. Pop culture in the Philippines is a dynamic fusion of music, movies, TV shows, and online movements that showcase the nation's wide range of creative inspirations. OPM (Original Pilipino Music) particularly interests me, especially the emergence of P-Pop acts like SB19 and Alamat that are showcasing Filipino talent internationally. I also like Pinoy teleseryes because of their captivating family-oriented plots and dramatic turns. Another favorite are Filipino comedies, which highlight the nation's sense of humor and distinctive storytelling. I particularly enjoy the Vice Ganda Christmas films. From viral memes to influencer-driven material that shapes contemporary entertainment, I stay up to date on local social media trends. Finally, I value Philippine folklore and mythology in popular culture, as evidenced by series like Trese and Maria Makiling-inspired storytelling that keep our traditional traditions alive in modern media.

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Trese is a Filipino animated Netflix series based on Budjette Tan and Kajo Baldisimo's comic book. It follows Alexandra Trese, a ferocious detective who investigates supernatural murders in Manila, where magical creatures from Philippine folklore live in secret alongside humans. The drama combines horror, mystery, and action in a modern environment, with creatures such as aswang, tikbalang, and duwende. Trese, with its dark, riveting tale and superb animation, showcases the complexity of Filipino mythology while also addressing social themes like corruption and crime. Its success has increased global attention for Philippine storytelling and folklore.

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Trese influences Filipino culture and global pop culture in various ways, most notably by reinterpreting traditional Philippine folklore in a contemporary context. Semiotics is the study of signs and symbols and their meanings, plays an important role in the series, which reinterprets renowned mythical animals and symbols. Creatures like the aswang and tikbalang are more than just frightening folklore components; they are re-contextualized as multifaceted characters with their own motivations that shape the plot. Trese challenges the basic, sometimes fear-based perceptions of these creatures by portraying them as members of modern civilization.The metropolitan backdrop of Manila adds to this transition, as old symbols of danger and mystery are now embedded in a world of modern technology, law enforcement, and political corruption, making the supernatural feel both familiar and horribly out of place.

Trese not only reshapes folklore, but also uses semiotics to confront societal issues. The show's semiotic elements, such as the police force and government corruption, represent real-world concerns. Alexandra Trese's experiences with supernatural creatures critique the system's inability to cope with both human and otherworldly crime. It delicately incorporates these themes to portray the intricacies of Philippine society, where corruption and justice are sometimes at odds. Alexandra, as both a defender of the human world and an intermediary for legendary creatures, represents moral complexity, demonstrating that societal development is not always straightforward. Trese uses these semiotic indicators to promote a greater understanding of power relations, justice, and cultural legacy, sparking a discussion about the evolution of both the nation's mythology and its current difficulties.